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This was taken Inside Tompkins Sq Park
In a small way, this scene sums up modern relationships ...
I've restarted my photography blog on Tumblr. To see the latest blg posting, click on this URL:
eyourdon.tumblr.com/post/126007744018/pay-no-attention-to...
Note: I chose this as my "photo of the day" for Aug 6,2015.
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Mi corazón oprimido
siente junto a la alborada
el dolor de sus amores
y el sueño de las distancias.
La luz de la aurora lleva
semillero de nostalgias
y la tristeza sin ojos
de la médula del alma.
La gran tumba de la noche
su negro velo levanta
para ocultar con el día
la inmensa cumbre estrellada.
Federico Garcia Lorca
Heliconia, derived from the Greek word helikonios, is a genus of about 100 to 200 species of flowering plants which are native to the tropical Americas and Pacific Ocean islands west to Indonesia. Many species of Heliconia are found in rainforests or tropical wet forests of these regions. Common names for the genus include lobster-claws, wild plantains or false bird-of-paradise because of their close similarity to the bird-of-paradise flowers (Strelitzia). Collectively, these plants are also simply called Heliconias.
These plants range from 1 ½ to 15 feet tall depending on species. The simple leaves of these plants range from 6 inches to 10 feet. They are characteristically long, oblong, alternate, or growing opposite one another on non-woody petioles often longer than the leaf, often forming large clumps with age. Their flowers are produced on long, erect or drooping panicles, and consist of brightly colored waxy bracts with small true flowers peeping out. The growth habit of heliconias is similar to Canna, Strelitzia, and bananas, to which they are related. The flowers can be hues of reds, oranges, yellows, and greens. The plants typically flower during the wet season. The bracts protect the flowers; floral shape often limits pollination to a subset of hummingbirds.
Heliconias are grown for florists and as landscape plants in tropical regions all over the world. Heliconias need an abundance of water, sunlight, and soils rich in humus. The flower of H. psittacorum (Parrot Heliconia) is especially distinctive, its greenish-yellow flowers with black spots and red bracts are reminiscent of bright parrot plumage. Most commonly grown landscape Heliconia species include Heliconia augusta, H. bihai, H. brasiliensis, H. caribaea, H. latispatha, H. pendula, H. psittacorum, H. rostrata, H. schiediana, and H. wagneriana.
Heliconias are an important food source for forest hummingbirds, some of which (for example Rufous-breasted Hermit, Glaucis hirsuta) also use the plant for nesting. The Honduran White Bat, Ectophylla alba also lives in tents it makes from Heliconia leaves.
Heliconia psittacorum, Parrot Heliconia
Biscayne Park FL
This was taken at the corner of 45th Street and Third Avenue
(more details later, as time permits)
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
When massive stars die at the end of their short lives, they light up the cosmos with bright, explosive bursts of light and material known as supernovae. A supernova event is incredibly energetic and intensely luminous — so much so that it forms what looks like an especially bright new star that slowly fades away over time.
These exploding stars glow so incredibly brightly when they first form that they can be spotted from afar using telescopes such as the NASA/ESA Hubble Space Telescope. The subject of this image, a spiral galaxy named NGC 4051 — about 45 million light-years from Earth — has hosted multiple supernovae in past years. The first was spotted in 1983 (SN 1983I), the second in 2003 (SN 2003ie), and the most recent in 2010 (SN 2010br). These explosive events were seen scattered throughout the center and spiral arms of NGC 4051.
SN 1983I and SN 2010br were both categorized as Type Ic supernovae. This type of supernova is produced by the core collapse of a massive star that has lost its outer layer of hydrogen and helium, either via winds or by mass transfer to a companion star. Because of this, Type Ic — and also Type Ib — supernovae are sometimes referred to as stripped core-collapse supernovae.
NGC 4501 sits in the southern part of a cluster of galaxies known as the Ursa Major I Cluster. This cluster is especially rich in spirals such as NGC 4051, and is a subset of the larger Virgo Supercluster, which also houses the Milky Way.
Image credit: ESA/Hubble & NASA, D. Crenshaw and O. Fox
Vostok (Russian: Восток, translated as "East") was a family of rockets derived from the Soviet R-7 Semyorka ICBM and was designed for the human spaceflight programme. This family of rockets launched the first artificial satellite (Sputnik 1) and the first manned spacecraft (Vostok) in human history. It was a subset of the R-7 family of rockets.
An oldie from Big Bend National Park in Texas. Somehow the outcropping reminds me of the Cheshire Cat.
Astronomers may have found our galaxy’s first example of an unusual kind of stellar explosion. This discovery, made with NASA’s Chandra X-ray Observatory, adds to the understanding of how some stars shatter and seed the universe with elements critical for life on Earth.
This intriguing object, located near the center of the Milky Way, is a supernova remnant called Sagittarius A East, or Sgr A East for short. Based on Chandra data, astronomers previously classified the object as the remains of a massive star that exploded as a supernova, one of many kinds of exploded stars that scientists have catalogued.
Using longer Chandra observations, a team of astronomers has now instead concluded that the object is left over from a different type of supernova. It is the explosion of a white dwarf, a shrunken stellar ember from a fuel-depleted star like our Sun. When a white dwarf pulls too much material from a companion star or merges with another white dwarf, the white dwarf is destroyed, accompanied by a stunning flash of light.
Astronomers use these “Type Ia supernovae” because most of them mete out almost the same amount of light every time no matter where they are located. This allows scientists to use them to accurately measure distances across space and study the expansion of the universe.
Data from Chandra have revealed that Sgr A East, however, did not come from an ordinary Type Ia. Instead, it appears that it belongs to a special group of supernovae that produce different relative amounts of elements than traditional Type Ias do, and less powerful explosions. This subset is referred to as “Type Iax,” a potentially important member of the supernova family.
Image credit: X-ray: NASA/CXC/Nanjing Univ./P. Zhou et al. Radio: NSF/NRAO/VLA
#NASA #MarshallSpaceFlightCenter #MSFC #Marshall #chandraxrayobservatory #ChandraXRay #cxo #chandra #astronomy #space #astrophysics #nasamarshallspaceflightcenter #solarsystemandbeyond #supernova #whitedwarf
Heliconia, derived from the Greek word helikonios, is a genus of about 100 to 200 species of flowering plants native to the tropical Americas and the Pacific Ocean islands west to Indonesia. Many species of Heliconia are found in rainforests or tropical wet forests of these regions. Common names for the genus include lobster-claws, wild plantains or false bird-of-paradise. The last term refers to their close similarity to the bird-of-paradise flowers (Strelitzia). Collectively, these plants are also simply referred to as heliconias.
The Heliconia are a monophyletic genus in the family Heliconiaceae, but was formerly included in the family Musaceae, which includes the bananas (e.g., Musa, Ensete; Judd et al., 2007). However, the APG system of 1998, and its successor, the APG II system of 2003, confirms the Heliconiaceae as distinct and places them in the order Zingiberales, in the commelinid clade of monocots.
These herbaceous plants range from 0.5 to nearly 4.5 meters (1.5–15 feet) tall depending on the species (Berry and Kress, 1991). The simple leaves of these plants are 15–300 cm (6 in-10 ft). They are characteristically long, oblong, alternate, or growing opposite one another on non-woody petioles often longer than the leaf, often forming large clumps with age. Their flowers are produced on long, erect or drooping panicles, and consist of brightly colored waxy bracts, with small true flowers peeping out from the bracts. The growth habit of heliconias is similar to Canna, Strelitzia, and bananas, to which they are related. The flowers can be hues of reds, oranges, yellows, and greens, and are subtended by brightly colored bracts. The plants typically flower during the wet season. These bracts protect the flowers; floral shape often limits pollination to a subset of the hummingbirds in the region (Gilman and Meerow, 2007).
Windows to the Tropics, Fairchild Tropical Botanic Garden, Miami FL
Sierra Lake, Submerged Rocks. © Copyright 2021 G Dan Mitchell – all rights reserved.
By the shore of an Eastern Sierra backcountry lake with a ledge of submerged rocks.
Recently I have had more than one excuse to go back and revisit photographs from previous years. First, this has been an attractive way to find “new old” work during this time of restrictions on travel. Second, I’m involved in a project (about which I can’t say more at the moment) that required me to spend a lot of time during the past month reviewing photographs from a particular subset of my Sierra Nevada photographs. It has been wonderful to relive a set of wonderful backcountry trips I took since about 2008 and, in the process, “discover” a lot of images that I had somehow left behind.
This is one of those photographs. I’ve often wondered about how it is that certain photographs seem to need to “age” for months or years before they make sense. In this case, I think what happened is that when I considered photographs from this place made on this day that I selected another image, worked my way through it, and then moved on. In essence, this one was “left on the cutting room floor” during that editing process. The scene is a high country lake — which lake hardly matters — where rocks under shallow, shoreline water contrast with the intense aqua color of the deeper water.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
The largest ecological impact of European colonization may have been wreaked by a small, seemingly benign domestic animal: the European honeybee.
“In early 1622, a ship arrived in Jamestown… loaded with exotic entities for the colonists to experiment with: grapevine cuttings, silkworm eggs, and beehives. Most bees pollinate only a few species; they tend to be fussy about where they live. European honeybees, promiscuous beasts, reside almost anywhere and pollinate almost anything in sight. Quickly, they swarmed from their hives and set up shop through the Americas.
The English imported the bees for honey, not to pollinate crops—pollination wasn’t’ widely understood until the late 19th century—but feral honeybees pollinated farms and orchards up and down the East Coast anyway. So critical to European success was the honeybee that Indians came to view it as a harbinger of invasion.” “America, Found and Lost”, Charles C. Mann, National Geographic May 2007, pg 51
Honey bees (or honeybees) are a subset of bees in the genus Apis, primarily distinguished by the production and storage of honey and the construction of perennial, colonial nests out of wax. Currently, there are only 7 recognized species of honey bee with a total of 44 subspecies. The first Apis bees appear in the fossil record at the Eocene–Oligocene boundary, in European deposits. The origin of these prehistoric honey bees does not necessarily indicate that Europe is where the genus originated. There are few known fossil deposits in South Asia, the suspected region of honeybee origin, and fewer still have been thoroughly studied.
Snow Squarestem, Melanthera nivea
Arch Creek East Environmental Preserve, North Miami, FL
This was taken on Spring Street, near Mulberry -- in the SoHo district of New York.
(I’ll give you more details in a few weeks, when I get around to uploading all of the photos from today’s photowalk in the SoHo district of Manhattan. Meanwhile, you’ll just have to track this down on your own … and if you do, please tell me which three flavors I should avoid!)
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
"Petit espace vide entre les parties d'un tout"
les tissus urbains et ruraux se maillent, raccordent, rapiècent resserrent leur trames...
Ces espaces m'intéressent car ils sont synonyme de liberté, créent un flou paradoxalement engendré par une partie finie, un ensemble fermé.
"Small space between the parts of a whole"
urban and rural network over fabrics, connect, tightening their frames ...
These areas interest me because they are means freedom, paradoxically create a blur generated by a finite subset, a closed set.
Note: this photo was included in Flickr's "Explored!" list for Jul 10, 2015 -- appearing as $#38 in the list.
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Another year has elapsed since I last photographed the tango dancers gathering on Pier 45 (where Christopher Street runs into the Hudson River in New York City's West Village), on the weekend before Labor Day, late-August 2014. But the sun was shining one weekend in early June of 2015, and I decided to venture down to Greenwich Village once again...
As I've mentioned in other Flickr sets, I have now met a few of the dancers at previous tango event over the past several; years, and I used to make a point of introducing myself to some of them, handing out business cards with my Flickr address so that people would be able to find these pictures without too much difficulty. But the dancers have good reason to be more interested in the music, and the movement of their partners, than a guy on the sideline with a camera -- so most of them have simply ignored me…
Altogether, I've now taken a dozen sets of tango-related photos, and you can see a thumbnail overview of them in this Flickr collection. And if you'd like to watch some other examples NYC tango dancing, check out Richard Lipkin's Guide to Argentine Tango in New York City.
Even though the dancers seem fresh and enthusiastic each time I come down here to Pier 45, I have a definite sense of deja vu: arguably, I’ve seen it all, I’ve photographed it all, I’ve heard all the tango music several times before. So I decided to do something different this time: I took all of the photos with my iPhone6+ camera. I used the “burst mode” feature on the camera-phone, so even though I took some 4,000 separate images, there were only about 400 “bursts,” and the iPhone hardware was kind enough to tell me which one or two images were reasonably sharp in each burst. From that smaller subset, I was eventually able to whittle things down to 50 images that I thought were okay for uploading to Flickr; that’s what you’ll see here.
Actually, the reason I was motivated to do all of this was not Flickr, but Instagram: for reasons that I can only assume are a stubborn testament to the “culture” of its community, Instagram insists on a “square” format, rather than the 3:2 or 4:3 aspect ratio favored by most DSLR and point-and-shoot cameras. Even worse, it insists that the photos be uploaded one-at-a-time from a mobile device. Ironically, this last restriction may prove to be too much; I’m uploading the photos to Flickr from my desktop Mac, but I don’t know if I’ll have the patience to upload them individually to Instagram…
Aside from that, I’ve concluded that the iPhone6+ is a handy little device for casual, ad hoc photos and videos; but it really doesn’t have the features I’ve come to depend on for the photos I want to publish. I won’t go into all of the technical details; chances are that you either don’t know, or don’t care, about those details. And if you do, chances are that you’ve made up your mind one way or another. As for me, I will definitely keep using the iPhone for some of my photos — especially the ones that really are casual, unplanned, ad hoc photos when I’ve got no other equipment that I can use. But with sophisticated little “pocket cameras” like the Sony RX-100 and Canon G7X, those moments are pretty rare for me … still, it was an interesting experiment.
As I've also pointed out in some previous Flickr albums, you can see a video version of the tango dancers from 2011, complete with music (which isn’t really tango music, but that’s okay), on my YouTube page; it’s here: www.youtube.com/watch?v=rqmnTQuwn54&list=UUUXim5Er2O4...
A small oasis we camped at in the Great Sand Sea near the Egyptian / Libyan boarder. The Great Sand Sea is a subset of the Sahara that covers a remote 72,000 km² (27,800 square miles) sand desert region in North Africa stretching between western Egypt and eastern Libya. Hard to say exactly where the shot was taken as it was after a full day offroad in a 4WD across the dunes from the larger oasis town of Siwa, which is about 50 km (30 mi) east of the Libyan border. The mountains are actually old coral reefs stranded in an empty ocean of sand; after hiking up them you could still see the coral heads intact. We camped here for a night; if you look closely you can see the small yellow tents to the right of the oasis. This is an old film shot; this whole area is now off limits due to security issues in Libya and trafficking across the border.
Love Life, Love Photography
When massive stars die at the end of their short lives, they light up the cosmos with bright, explosive bursts of light and material known as supernovae. A supernova event is incredibly energetic and intensely luminous — so much so that it forms what looks like an especially bright new star that slowly fades away over time.
These exploding stars glow so incredibly brightly when they first form that they can be spotted from afar using telescopes such as the NASA/ESA Hubble Space Telescope. The subject of this image, a spiral galaxy named NGC 4051 — about 45 million light-years from Earth — has hosted multiple supernovae in past years. The first was spotted in 1983 (SN 1983I), the second in 2003 (SN 2003ie), and the most recent in 2010 (SN 2010br). These explosive events were seen scattered throughout the centre and spiral arms of NGC 4051.
The SN 1983I and SN 2010br were both categorised as supernovae of type Ic. This type of supernova is produced by the core collapse of a massive star that has lost its outer layer of hydrogen and helium, either via winds or by mass transfer to a companion. Because of this, type Ic — and also type Ib — supernovae are sometimes referred to as stripped core-collapse supernovae.
This galaxy’s beautiful spiral structure can be seen well in this image, along with other intriguing objects (including an emission-line galaxy known as SDSS J120312.35+443045.1, visible as the bright smudge to the lower middle of the image, beneath the sweeping arm of NGC 4051).NGC 4501 sits in the southern part of a cluster of galaxies known as the Ursa Major I Cluster; this cluster is especially rich in spirals such as NGC 4051, and is a subset of the larger Virgo Supercluster, which also houses the Milky Way.
Credits: ESA/Hubble, NASA, D. Crenshaw and O. Fox; CC BY 4.0
We can't be sure that these two are a couple ... but the body language says they are more than just casual friends. Or maybe I'm just reading it all wrong, because I a thousand years older than they are ...
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This is a continuation of Flickr sets that I created in 2014 (shown here), 2013 (shown here)
2012 (shown here), 2011 (shown here), 2010 (shown here), 2009 (shown here), and 2008 (shown here) -- which, collectively, illustrate a variety of scenes and people in the small "pocket park" known as Verdi Square, located at 72nd Street and Broadway in New York City's Upper West Side, right by the 72nd St. IRT subway station.
I typically visit a local gym once or twice a week, and I get there by taking the downtown IRT express from my home (at 96th Street) down to the 72nd Street stop. Whenever possible, I try to schedule an extra 30-60 minutes to sit quietly on one of the park benches, and just watch the flow of people coming in and out of the park -- sometimes just passing through, to get from 72nd Street up to 73rd Street, sometimes coming down Broadway to enter the park at 73rd Street, but mostly entering or exiting the subway station.
You see all kinds of people here: students, bums, tourists (from New Jersey and from all four corners of the globe), office workers, homeless people, retired people, babysitters, children, soldiers, sanitation workers, lovers, friends, dogs, cats, pigeons, and a few things that simply defy description. Sometimes you see the same people over and over again; sometimes they follow a regular pattern at a particular time of the day, which always makes me smile — even though I never go up to them and introduce myself.
If I focus on the people coming south on Broadway, and entering the park at 73rd Street, and then continuing to walk southwards toward the subway entrance, I typically have five or ten seconds to (a) decide if they're sufficiently interesting to bother photographing,(b) wait for them to get in a position where I can get a clear shot of them, and (c) focus my camera on them and take several shots, in the hope that at least one or two of them will be well-focused and really interesting.
While you might get the impression that I photograph every single person who moves through this park, it's actually just the opposite: the overwhelming majority of people that I see here are just not all that interesting. (It's not that they're ugly, it's just that there's nothing interesting, memorable, or distinctive about them.) Even so, I might well take, say, 200 shots in the space of an hour. But some of them are repetitive or redundant, and others are blurred or out-of-focus, or technically defective in some other way. Of the ones that survive this kind of scrutiny, many turn out to be well-focused, nicely-composed, but ... well ... just "okay". I'll keep them on my computer, just in case, but I don't bother uploading them.
Typically, only about 1-2% of the photos I've taken get uploaded to Flickr -- e.g., about 5-10 photos from a one-hour session in which a thousand, or more, people have walked past me. There are some exceptions to this rule of thumb -- but in general, what you're seeing it is indeed only a tiny, tiny subset of the "real" street scene in New York City. On the other hand, it is reassuring to see that there are at least a few "interesting" people in a city that often has a reputation of being mean, cold, and heartless...
A close-up of an area in the Po Valley – showing Pavia (centre) and the confluence of the Ticino and Po rivers – is a subset from the first image from the Sentinel-2A satellite acquired on 27 June 2015 at 10:25 UTC (12:25 CEST), just four days after launch. Processed using the high resolution infrared spectral channel, the satellite’s instrument will provide key information on crop type and health, assisting in food security activities.
Credit: Copernicus data (2015)/ESA
Read more about delivery of the Sentinel-2 first images
Part of three photos showing some of the construction of a medical office building for most of the block bounded by Polk Street and Van Ness Avenue on the east and west and Cedar and Geary Streets on the north and south. This building (now completed) created medical offices supporting the a new Hospital across Van Ness Avenue (the building under construction (also, now completed) in the background).
With construction in this area going apeshit, the disruption/change to this neighborhood has been enormous and neither the hospital nor this office building were even completed at the time of this photo. The homeless in the neighborhood are visibly being driven into the streets and you see many of them wandering about aimlessly. On a personal level my ophthalmologist moved to a cement, office building nearby. Built in the 80s, it is as characterless as it is nondescript.
Finally, the geotagged map says this neighborhood is "Lower Nob Hill." "Lower Nob Hill" is a recent, fake, appellation created by the pimping real estate industry trying to give cachet to this traditionally, down and out neighborhood (the lying, shitbag Donald Trump is basically a real estate salesman, which tells you all you need to know about that industry). In reality, this area is part of Polk Gulch a subset of the Tenderloin and closer to both Russian Hill and Pacific Heights, both of which are easily as wealthy as Nob Hill.
This was taken at the intersection of First Avenue and 46th Street
(more details later, as time permits)
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
Happisburgh. The pronounciation ignors both 'p's - which is a shame as you miss out on a chance to go to a place that is 'happy' in favor of the rather ordinary pronounciation which is apparently 'Hay's br'. (I am sticking with Happy's Burgh).
Norfolk. England.
The actual site with the fossilized footprints is a few hundred meters behind the tripod, but, with the weather and the tide, this is as near as I could get.
As far as I remember (from an earlier visit), the layer with the footprints are under the dark strata, and here, just under the sand.
"Between 2005 and 2010, eighty palaeolithic flint tools, mostly cores, flakes and flake tools, were excavated from the foreshore in sediment dating back to up to 950,000 years ago. The tools are believed to have been made by Homo antecessor" Wiki
Homo antecessor is the same species so well documented with finds in the Atapuerca cave pits aside Burgos in Spain. A species in the active zone between Erectus and Sapiens. Bones from the Spanish site push the antecessor species back to 1.6 mybp - with Mode 1 Acheuléen stone tools.
Normally a species is understood as a moment when a divergent and adapted group can no longer breed with adjacent groups and has evolved into a new species. Between homo erectus and modern Sapiens Sapiens there is little evidence of just such clear distinction and it is perhaps best understood that, escaped from a niche, erectus evolved and mixed at the very edge of speciation. Here a species between the names of Neandertal and erectus has left Africa and got as far as Norfolk in England. His offspring will wander and mix with other waves as and when they find the conditions for migration and diffusion. The time period was once known as Abbevillien before being re defined as Chelléen. Chelléen had subsets of Clactonian (after the tools found further south at Clacton-on sea) and Tayacian. Today it is more common just to hear reference to Oldown (which respects a proximity to African skill sets) and or Paleolithic ancient. The Happisbugh range may be enough to illuminate the tern Acheuléen - all very, very old, with still a couple of labels before you get to the more comfortably understandable Gravetien.
The erosion here is still active and a living memory of the post ice age flooding and erosion that attacked the Mesolithic and even neolithic coastal lifestyles of today's Spain, France, United Kingdom and more. This section of sea also heads off to cover the ancient island of Doggerland, a real Atlantis site.
The image is a montage of four photographs using the centres of captures from an archive 24mm lens on a Pentax K50. To simplify the image, buildings, people and general modern spill have been removed. The final image has a far higher definition and was reduced down by half for Flickr.
AJ
Acquired on 15 March 2017, this subset from the first image from Sentinel-2B features the southern Italian port city of Brindisi – appropriately the same word for the ‘toast’ ritual in Italian.
Read more: A toast to Copernicus Sentinel-2B as it delivers its first images
Credit: Contains modified Copernicus Sentinel data (2017), processed by ESA
Some people get uptight about stuff.
And a small subset of that group will actually go to the further extent of getting custom signs printed up to display how uptight they get about stuff.
Another owl I have wanted to find and photo is the fierce little diurnal northern pygmy owl. I had read of several areas where they had been heard this year and decided to visit one I was very familiar with and which I had no idea had these little owls. My son and I drove out there Saturday afternoon in the snow. One reason I picked this spot was it was one of the few places where it wasn't snowing. However when I arrived and drove up the canyon it was snowing up the canyon. On my way up I scanned all the possible trees for birds and aside from a golden eagle I saw no other birds. When I arrived at our destination I got out and listened for the toot toot this owl makes but didn't hear it. I decided I would play a short clip of its call and maybe go somewhere else since it was snowing. After playing the clip and taking care of my son for a minute I heard in the distance a northern pygmy owl calling. I convinced my son to go on a short walk with me in the snow and we soon located the owl calling from a dead snag. We watched it fly back and forth between a couple of the tallest treetops and was able to get some decent pictures despite the snow and overcast conditions. I have visited this canyon probably no less than 100 times in the past 15 years and never knew these cool little owls were here. Its amazing what you miss out on when you don't have a full understanding of the biodiversity around you or when you are so focused on a smaller subset of the animals around you.
This image of the southern Italian town of Crotone is a subset from the first acquisition by Sentinel-2B on 15 March 2017. This false colour image was processed including the instrument’s high-resolution infrared spectral channel.
Credit: Contains modified Copernicus Sentinel data (2017), processed by ESA
The Rogues Gallery, or just Rogues for short, are a subset of Flash-villains who formed an informal union and alliance consisting of the Reverse-Flash (Eobard Thawne), Tar Pit, Doctor Alchemy, & Rag Doll
Back Row: Captain Boomerang (George "Digger" Harkness), Cicada, & The Shade
The 107 is usually Envirio 400 operated (TE/TEH), but these MCV EvoSeti sometime appears.
Because these VMH can appear almost anywhere, they make good fodder for the so called 'achievement specialist', a subset of the enthusiast community whose main interest is to hunt down such oddities.
Here, VMH2496 descends Barnet Hill as it approaches the end of its route.
Parsonsfield, Maine.
Panorama view after subset from Rt-160 / North Road in Parsonsfield on the 12th.
Street Art on ESB Building, Temple Bar, Dublin
This Street Art aims to highlight the environmental damage caused by plastic. A key feature of the work is visual of a fish trapped in a plastic bag.
The Mural is by SUBSET, a collective of street artists, designers, filmmakers and curators and was produced as part of a collaboration with The Temple Bar Company. [Source Internet]
This gastropod shell has stripes! (Or is it a swirl? Is a swirl a subset of a stripe? I'm going to say it is!)
Happy Macro Monday!
This was taken on Grand St., between Allen and Orchard, in the SoHo district of Manhattan.
Note: I chose this as my "photo of the day" for Jun 30, 2015.
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...